For longer than I can remember, I’ve been enamored with home recording. What made me want to switch directions and seek professional help (musically)?
For longer than I can remember, I’ve been enamored with home recording. What made me want to switch directions and seek professional help (musically)?
In 2015, I did my first ever recording session at a studio I won’t name in Winchester, VA. While I enjoyed the experience and got along great with the studio owners, I wasn’t head over heels with the recordings I received back. They didn’t sound quite like I wanted them to, and at the arrogant young age of 17 I thought “I can do this better.”
Whether I could or not is still open to debate. By 2018 though, I had started getting the hang of it. I’ve since released two self-recorded EPs, a few singles, and my full-length album The Next Karaoke Star.
The funny thing about recording The Next Karaoke Star at home is that I never intended to. I had planned to set up a studio session in the Spring of 2020 - I bet you can guess what happened.
I didn’t feel that this would work very well. Also, where the hell is the pop filter?
Would a mask work as a pop filter? I guess it might.
I’ve now hit the point where I don’t think I can really improve the quality of my home recordings much more. Recently, I've also been writing at a level that exceeds any prior work and wanted to get these new songs cut properly. With that in mind, I set up a recording session for early September at Sleepy Hollows Studio in Herndon, VA.
I cut two songs at Sleepy Hollows, “Blackberries” and “Nighttime Song.” Studio owner Neal (who I’m just now realizing I don’t know his last name) set me up with engineer Devin Spear and session drummer Ben Tufts. We recorded two nights from 8pm to midnight, running on fumes but getting the work done.
Love to see a real board in there.
And wow, I’m glad we did. The sessions went very smoothly. I knew Ben was a professional when he sat down and showed me the chart he had mapped out the drum parts on, but he really showed what he was made of when he nailed the drum part in three takes. Devin was very patient with me and helped guide me through the process, despite my status as a studio newbie.
In an effort to not show up and be a total liability, I rehearsed really intently for a week before arriving at the studio. Despite best-laid plans, there were still a few hiccups along the way, and most of them had to do with the mandolin. Re-tuning one of those things might make you think that Sisyphus and a bluegrass band have something in common.
There are eight strings, and each note is doubled up. It's also tiny as hell.
Think this guy had it tough? Try mandolin. I dare you.
Even though Devin and I were both on about 3% charge by the end of each session, the results speak for themselves. I’ve never heard my vocals sound so good - it’s a wonder what a great microphone and proper acoustic treatment can do.
I haven't decided what the plan is yet for releasing these songs, but it’ll be worth the wait. I promise.
I am trying to set up an additional session to record “We Get By.” I’ve been writing proactively lately and have some new material I’m very excited about as well. I’ll probably have recordings of those songs eventually, but for now, you can hear them at one of my upcoming shows.
